Ancillary services: currency exchange, insurance, car hire

Travel & Tourism – Ancillary Services (Currency Exchange, Travel Insurance, Car Hire) – Drama 0411

Why use these services in Drama?

• Everyday “stimuli” that naturally create conflict, choices and physical action.
• Students can move from analysis (AO1) → devising & performance (AO2) → evaluation (AO3) within a single, realistic context.

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Cambridge IGCSE Drama 0411 – AO Map (Weighting)

Assessment Objective	What is assessed?	Weighting
AO1 – Knowledge & Understanding (40 %)	Identify drama terminology; analyse a stimulus (e.g., a currency‑exchange desk) and explain how it can shape plot, character and design.	40 %
AO2 – Application & Analysis (30 %)	Devise a short performance from a stimulus; make justified choices about character, structure, design and performance skills.	30 %
AO3 – Evaluation & Reflection (30 %)	Evaluate the effectiveness of performance choices; suggest realistic improvements; reflect on the link between the service’s purpose and dramatic intent.	30 %

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Key Drama & Design Terminology (use in all activities)

Term	Definition (brief)
Blocking	Planning the movement of actors on stage.
Fourth wall	Imaginary barrier between performers and audience.
Ensemble	All performers working as a cohesive unit.
Characterisation	Creating a believable personality through voice, gesture and intention.
Physicality	Use of the body to convey meaning, mood or status.
Pacing	Control of tempo and rhythm to build tension or release.
Proxemics	The use of space and distance between characters.
Costume cue	A specific change of clothing that signals a shift in character or status.
Design vocabulary	Set, props, lighting, sound, colour, texture – terms students should name when justifying design choices.
Plot / Structure	The organised sequence of events (beginning‑middle‑end) that creates a dramatic arc.

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1. Currency Exchange

1.1 Service Overview

• Provides travellers with local cash by buying and selling foreign currencies.
• Typical providers: banks, airport kiosks, hotel desks, specialised bureaus.
• Key features: spot rate vs. bank rate, commission/service charge, travel‑card options.

1.2 Suggested Plot & Structure (3‑Act)

1. Act 1 – Intention: Tourist needs cash urgently for a train ticket.
2. Act 2 – Conflict: The clerk announces a sudden rate change and a hidden fee.
3. Act 3 – Resolution: Tourist either accepts the cost, finds an alternative desk, or discovers a hidden error that creates a twist.

1.3 Drama Elements Embedded in the Stimulus

• Characterisation: nervous tourist, fast‑talking clerk, watchful security guard.
• Physicality: handling cash, counting notes, pointing at the rate board.
• Pacing & Tension: a growing queue, a sudden “rate change” announcement.
• Spatial awareness / Proxemics: counter layout, signage, line of customers.
• Costume cue: clerk in a uniform or badge to signal authority.

1.4 Performance‑Skills Checklist (AO1)

• Voice – clear articulation of numbers; vary volume to show confidence or anxiety.
• Body – purposeful gestures when handing over cash; maintain eye‑contact for power dynamics.
• Audience connection – brief “asides” to the audience can break the fourth wall and reveal inner thoughts (optional).

1.5 Staging, Design & Costume

• Set: simple desk with an “Exchange Rates” board; a few chairs to suggest a queue.
• Props: mixed foreign banknotes, receipt pad, calculator, rate‑cards.
• Costume: clerk in a business‑like shirt and name‑badge; tourist in casual travel wear.
• Lighting: bright “airport” wash; spotlight on the clerk during the rate announcement.
• Sound: low ambient announcements, occasional beeps of a currency‑converter machine.

1.6 Script‑Analysis Mini‑Exercise (AO1)

Clerk: “The rate today is 1.12 USD to the euro, plus a 2 % commission.”
Tourist (whispering to a friend): “That’s more than we expected… should we look for another desk?”

Annotate the excerpt for:

• Voice quality (authoritative vs. hesitant).
• Gesture (pointing, counting, shielding cash).
• Intention (selling, reassuring, protecting).

1.7 Devising Checklist for a Currency‑Exchange Scene (AO2)

1. Identify the stimulus (exchange counter).
2. Choose a three‑act dramatic intention (see 1.2).
3. Create at least two characters with clear objectives.
4. Pinpoint the conflict point (rate dispute, hidden fee, mistaken amount).
5. Plan blocking – where does the cash travel? Where do characters stand?
6. Select design elements (set, props, costume, lighting, sound) that heighten tension.
7. Write a short script (minimum 8 lines) and rehearse using the performance‑skills checklist.

1.8 Classroom Activity – Role‑Play the Exchange Counter (AO2)

1. Groups of three: clerk, traveller, observer.
2. Using the devising checklist, devise a 1‑minute scene that includes a misunderstanding over rates.
3. Perform for the class.
4. Observers complete an Evaluation Worksheet (see 5.2) noting use of drama terminology, design choices and performance skills.
5. After feedback, each group writes a brief Reflection (AO3) – what worked, what would be changed?

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2. Travel Insurance

2.1 Service Overview

• Protects travellers against financial loss or health emergencies abroad.
• Coverage types: medical emergencies, trip cancellation/interruption, baggage loss/delay, personal liability.
• Policy features: premium (usually % of trip cost), excess/deductible, exclusions, 24‑hour emergency helpline.

2.2 Suggested Plot & Structure (3‑Act)

1. Act 1 – Intention: Traveller books a holiday and purchases a comprehensive policy.
2. Act 2 – Conflict: A sudden illness or lost luggage forces the traveller to make a claim.
3. Act 3 – Resolution: Claim is accepted (relief) or denied (new dilemma), revealing a deeper character truth.

2.3 Drama Elements Embedded in the Stimulus

• Conflict & Stakes: emergency raises the personal and financial stakes.
• Characterisation: risk‑averse parent, carefree backpacker, sceptical insurance agent.
• Physicality: frantic phone gestures, holding a medical certificate, packing/unpacking luggage.
• Temporal pacing: rapid shift from holiday fun to crisis.
• Costume cue: agent in a smart blazer; traveller in casual holiday wear.

2.4 Performance‑Skills Checklist (AO1)

• Vocal dynamics – contrast the calm, scripted tone of the policy with the heightened emotion of an emergency call.
• Body – tight, controlled gestures when reading a policy; open, desperate movements when pleading for help.
• Audience connection – a brief direct address (“You’d think I’d read the fine print…”) can deepen empathy.

2.5 Staging, Design & Costume

• Set: hotel reception desk or portable “call‑centre” table.
• Props: printed policy documents, mock “emergency card”, mobile phone.
• Costume: agent in a business shirt; traveller in travel‑ready clothing.
• Lighting: sudden shift to cooler colour when the emergency is introduced.
• Sound: muted hotel ambience; ringing phone cue; low‑frequency hum to suggest tension.

2.6 Script‑Analysis Mini‑Exercise (AO1)

Agent (reading policy): “The medical cover is up to £50,000, but pre‑existing conditions are excluded.”
Traveller (voice shaking): “I didn’t tell them about my asthma… what now?”

Discuss how body language (e.g., clutching the chest, looking away) can reveal panic versus denial.

2.7 Devising Checklist for an Insurance‑Claim Scene (AO2)

1. Select a specific coverage (e.g., medical emergency).
2. Define the dramatic intention (see 2.2).
3. Create two characters – claimant and insurance representative.
4. Identify the turning point (claim acceptance or denial).
5. Plan blocking – where does the phone sit? How does the claimant move when hearing the decision?
6. Choose design elements that reinforce mood (e.g., stark lighting for a denial).
7. Write a concise script (8‑10 lines) and rehearse using the performance‑skills checklist.

2.8 Classroom Activity – Emergency Claim (AO2)

1. Pairs act out a claim call; a third student records the dialogue.
2. Class watches the recording and completes the Evaluation Worksheet (AO3 focus).
3. Each pair writes a short reflection answering:
   • How did the insurance context shape my character’s objectives?
   • Which design choices most effectively built tension?
   • One concrete change for a future performance.

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3. Car Hire (Vehicle Rental)

3.1 Service Overview

• Provides a temporary vehicle for personal use during a trip, offering independence.
• Vehicle categories: economy, compact, SUV, luxury.
• Rental periods: hourly, daily, weekly.
• Insurance options: collision‑damage waiver (CDW), third‑party liability.
• Additional services: GPS, child seats, additional driver.
• Cost factors: base rate, mileage limits, fuel policy (full‑to‑full, pre‑pay), age surcharge.

3.2 Suggested Plot & Structure (3‑Act)

1. Act 1 – Intention: Young driver needs a car for a weekend road‑trip.
2. Act 2 – Conflict: Agent warns about age surcharge, fuel policy and a £150 excess for damage.
3. Act 3 – Resolution: Driver either accepts the terms, negotiates a discount, or is accused of previous damage, revealing a secret.

3.3 Drama Elements Embedded in the Stimulus

• Power & Responsibility: negotiating insurance reveals risk‑taking attitude.
• Physicality: handling keys, inspecting the car, signing contracts.
• Spatial awareness / Proxemics: desk, “car‑bay” backdrop, imagined vehicle interior.
• Pacing: quick “checkout” versus drawn‑out dispute over charges.
• Costume cue: agent in a uniform or name‑badge; driver in casual travel attire.

3.4 Performance‑Skills Checklist (AO1)

• Voice – precise, business‑like diction when reading the rental agreement; shift to a relaxed tone when imagining the road‑trip.
• Body – crisp key‑handing gesture; nervous foot‑tapping when discussing surcharge.
• Audience connection – a brief “aside” about the driver’s fear of being judged for age can break the fourth wall.

3.5 Staging, Design & Costume

• Set: rental desk with a large “Terms & Conditions” poster; floor‑marked “car‑bay” silhouette.
• Props: mock car keys, rental contract sheets, miniature GPS, fuel‑voucher.
• Costume: agent in a smart blazer; driver in a hoodie and backpack.
• Lighting: neutral daylight for the desk; focused spot when a dispute erupts.
• Sound: distant traffic hum; “car‑door closing” cue for the imagined vehicle.

3.6 Script‑Analysis Mini‑Exercise (AO1)

Agent: “The CDW covers any damage, but there is a £150 excess if you return the car with a scratch.”
Driver (glancing at the car): “I’m only 22… will that surcharge apply to me?”

Identify how the line can be delivered to show (i) uncertainty, (ii) confidence, or (iii) defiance.

3.7 Devising Checklist for a Car‑Hire Scene (AO2)

1. Define the stimulus (rental desk interaction).
2. Set a dramatic intention (see 3.2).
3. Develop characters – anxious young driver, meticulous agent, rival customer.
4. Select a conflict point (age surcharge, fuel policy dispute, damage accusation).
5. Plan blocking – movement from desk to “car‑bay” and back.
6. Choose design elements that support tension (e.g., ticking clock sound for a time‑pressured return).
7. Write a short script and rehearse, focusing on clear diction and purposeful gestures.

3.8 Classroom Activity – Rental Negotiation (AO2)

1. Groups of three (agent, driver, observer) devise a 90‑second negotiation that ends with a surprise (unexpected discount or sudden accusation of damage).
2. Perform; observers record instances of drama terminology (blocking, pacing, physicality).
3. Group evaluates the performance using the Evaluation Worksheet (AO3) and suggests one concrete improvement.

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4. Mini‑Module: Working with a Published Play Extract

4.1 Purpose

Component 1 of the IGCSE requires analysis of a published play. This short module gives students practice that can be linked to the ancillary‑service stimuli.

4.2 Suggested Extract

A Midsummer Night’s Dream – Act II, Scene 1 (the “fairy” dialogue) – 8‑line excerpt that showcases characterisation, pacing and use of the fourth wall.

4.3 Guided Analysis Questions (AO1)

1. Identify two characters and their objectives.
2. What dramatic techniques (language, pacing, physicality) create tension?
3. How could the same techniques be transferred to a currency‑exchange scene?
4. Note any design vocabulary that would enhance the extract (lighting, sound, costume).

4.4 Actor/Director/Designer Perspectives (AO2)

• Actor: Choose a line and experiment with two contrasting physical intentions (e.g., seductive vs. threatening).
• Director: Sketch a quick blocking diagram showing how the characters move in relation to each other.
• Designer: Propose a colour palette and sound cue that would change the mood of the scene.

4.5 Reflection (AO3)

Students complete a short paragraph answering: “What did analysing a published text teach me about building conflict in my own devised ancillary‑service scene?”

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5. Comparison of Ancillary Services

Service	Primary Purpose	Typical Provider	Key Traveller Considerations	Drama Focus (Elements)
Currency Exchange	Obtain local cash	Banks, airport kiosks, hotels, specialised bureaus	Exchange rate, fees, security of cash	Characterisation, physicality, pacing, spatial awareness, costume cue
Travel Insurance	Mitigate financial risk of emergencies	Insurance companies, travel agents, online portals	Coverage limits, exclusions, premium cost, excess	Conflict & stakes, vocal dynamics, temporal pacing, costume cue
Car Hire	Provide personal transport	Rental agencies, online platforms, airport desks	Vehicle type, insurance options, fuel policy, age surcharge	Power dynamics, physicality, blocking, negotiation tension, costume cue

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6. Suggested Flowchart – From Stimulus to Evaluation

1. Stimulus – Choose one ancillary service (currency exchange, insurance, car hire).
2. Devising – Apply the service‑specific checklist (intention, characters, conflict, design).
3. Performance – Rehearse focusing on the performance‑skills checklist (voice, body, audience connection).
4. Evaluation – Peer‑feedback worksheet (AO3) → written reflection → improvement plan.

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7. Overall Assessment Guidance (for teachers)

• AO1: Look for accurate use of drama & design terminology, clear identification of plot/structure and thoughtful analysis of the stimulus.
• AO2: Assess the devised script for a clear three‑act arc, purposeful character objectives, effective blocking and justified design choices. Verify the performance‑skills checklist has been used.
• AO3: Evaluate the written reflection and peer‑feedback worksheet – students should comment on what worked, why it worked (linking back to AO1 terminology) and propose a specific, realistic improvement.
• Marking can be streamlined by using a simple rubric that assigns 1‑4 points for each AO criterion, totalling 12 points (max 40 % AO1, 30 % AO2, 30 % AO3 as per the AO map).

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8. Worksheets (Downloadable)

• Evaluation Worksheet (AO3) – columns for “Drama element”, “What was done well?”, “Suggested improvement”.
• Reflection Sheet (AO3) – prompts for intention, design choices, performance skills, link to service purpose.
• Devising Checklist (AO2) – printable version of the checklists in Sections 1‑3.